waved lines, the waves being either similar, varying by more or less imperceptible gradations; and medal ruling or transferring to copper the fac-simile of a medal without injuring its surface, the waved lines presenting a copy of the minutest parts of the medal.” RULE IV. VIGNETTES--A GENERAL RULE. _Faces, Eyes, Stippling, Hair, Drapery, Limbs, Scenery, &c._ Rule IV. relates to the Vignettes, to notice whether they appear to come up to the usual standard of perfection in the following points: the faces, eyes, stippling, hair, drapery, limbs, scenery, landscapes, water and agricultural scenes, &c. This work is always done by hand, both in the genuine and counterfeit; but in the genuine it is done by _first-class artists_; men who are at the head of their profession, and who can always get such a complete remuneration for their labor that there cannot possibly be any temptation for them to counterfeit. It is only second, third, fourth, and sometimes _hundredth_-rate artists that counterfeit:--runaway apprentices and cast-off journeymen, and possibly amateurs. The points to observe are first, the human face, stippling, and the eyes. This is the most difficult of any part of the Vignette to execute well, and fails in counterfeits, more than any other part of the 4th Rule. In the genuine, the eyes have a perfectly natural expression, while in counterfeits they are, generally, merely two clumsy dots. The _stippling_ is the beautiful artistic arrangement of the fine dots which produce the shading--the smooth, even, soft _rounding_ of the features, the cheeks, nose, lips, chin, and limbs; this fails _invariably_ in counterfeits--the features, and generally the limbs also, appearing _flat_, scratchy, inexpressive, and inanimate. The human hair in the genuine will look soft, silky, and natural; displaying a _lustre_ in portions where the light appears to strike it. In counterfeits the hair generally appears _stiff_, coarse, _wiry_, lifeless, and unnatural. The drapery in the genuine beautifully represents the folds and texture of different kinds of cloth; sometimes the dark, heavy and glossy appearance of broadcloth is produced; sometimes the light, flowing appearance of silk or muslin--the folds always look easy and _flowing_--no stiffness. In counterfeits the drapery generally appears scratchy and _stiff_, sometimes having the _solid_ appearance of cast iron, and sometimes like coarse wire-cloth, inexplicably twisted up in a snarl in trying to imitate the easy and natural folds of the genuine. The limbs, hands, or feet are always well done in the genuine, but generally fail in counterfeits. It is a very difficult matter to execute well, and it requires a first-rate artist to produce an elegant-shaped hand or foot and in an easy position. To engrave human figures correctly it is first necessary for the artist to acquire a _thorough_ knowledge of Anatomy. Smoke in the genuine is always